A Working Bibliography - The University of Sydney

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16 Daozi, ‘The Wisdom of the Body’, Chinese Type Contemporary Art Magazine, Vol. 4, Issue 5, November, 2001, published Online at: http://www.chinese-art.com Gao Minglu, “Private Experience and Public Happenings: The Performance Art of Zhang Huan” (Translated by Alexa Olga) in Pilgramage to Santiago, Barcelona and Brussels, Cotthem Gallery, 2001 Gao Minglu, The Wall: Reshaping Contemporary Chinese Art, New York and Beijing, Albright-Knox Art Gallery, University at Buffalo Art Galleries, and Millennium Art Museum, 2006 Ling, Gao, ‘Art is Action’, , Chinese Type Contemporary Art Magazine, Vol. 4, Issue 5, November, 2001, published Online at: http://www.chinese-art.com Merewether, Charles, ‘The spectre of being human’, Yishu: Journal of Contemporary Chinese Art, vol.2, no., June 2003 Song Dong, Guo Shirui, Yesheng, 1997 Nian Jing zheshi, Beijing, Xiandai YishuZhongxin, 1997 [includes a chronology for chiefly avant-garde and performance art since 1986] Xing Danwen, Danwen Xing, Wo-men: A Personal Diary of Chinese Avant Garde in the 1990s: Photographs, 1993-1998, Zurich, Scalo Publishers, 2007 (Forthcoming) MAILAND CHINA, 1911-PRESENT Albums Between the thunder and the rain: Chinese paintings from the Opium War to the Cultural Revolution, 1840-1979, San Francisco, Asian Art Museum, 2000 Bobot, M.-T., Collection des Peintures et Calligraphies Chinoises Contemporaines, Paris, Musée Cernuschi, 1985 Brown, Claudia; Chou Ju-hsi; Transcending turmoil: painting at the close of China’s empire, 1796-1911, Phoenix, Phoenix Art Museum, 1992. Eliséef, V., Exposition de la Peinture Moderne Chinoise, Paris, Musée Cernuschi, 1946 Eliséef, V., Quatre Artistes Chinoises Contemporaines, [Pan Yu-lin, Lam Oi, Ou Seu-tan, Shing Wai], Paris, Musée Cernuschi, 1977 Eliséef, V., Peintures Chinoises Traditionelles, 1975-80, Paris, Musée Cernuschi, 1981 Ellsworth, R.H. et al, Later Chinese Painting and Calligraphy, 1800-1950, 3 volumes, New York, Random House, 1987 Hajek, L., Hofmeister, A., Chinesische Malerei der Gegenwart,Prague, Artia, 1959 Hua Junwu,ed., Contemporary Chinese Painting, Beijing, New World Press, 1981 Moss.H., ed.,The Experience of Art, Hong Kong, Umbrella, 1983 Strassberg, R.E., Nielsen, W.A., Beyond the Open Door, Pasadena, Pacific Asia Museum, 1987. Strassberg, R.E., Beyond the Open Door II, Pasadena, Pacific Asia Museum, 1991. Sun Jie, ed., A Selection of Contemporary Chinese Painting, Beijing, Zhao Hua Publishing House, 1981 Tam, L.S., ed., Twentieth Century Chinese Painting, Hong Kong, Hong Kong Museum of Art, 1984 Tao Yongbai, ed., Oil Painting in China 1700-1985, Jiangsu Meishu Chubanshe, 1988 Whitfield, R., Chinese Traditional Painting, 1886-1966, London, Royal Academy of Arts, 1982 Individual Artists For lists of albums see the bibliography in Kao, Mayching,ed, Twentieth Century Chinese Painting, Hong Kong, Oxford University Press, 1988 for a list of artists’ albums, and for other lists of reproductions see Laing, E.J., An Index to Reproductions by Twentieth Century Artists, Portland, Oregon, 1984. The publishing industry in both the People’s Republic and Taiwan has also produced many single-artist multi-volume series in the 1990s. A number of artist’s names become homonyms in English although written with different characters in Chinese. To obviate lengthy explanation in these cases I have simply identified the artist the medium or type of work e.g. Liu Wei, painter and Liu Wei, video installation, are two different artists working in those media whose personal names are actually written with different characters even though their surnames are identical. Sometimes the same artists also appears in later sections by country under ‘Asian Artists Transnational Activity’. Individual artists have also been listed in the Mainland China – 1989-2000 and 2000+ categories of this bibliography.
17 Cai Guoqiang, painter and installation art, New York: Cai Guoqiang, Day Dreaming, Taipei, Cherng Pin Gallery 1998; Zaya Octavio et al, Venice’s Rent Collection Courtyard, Hong Kong & Vancouver, Annie Wong Art Foundation, 1999; Zhang Zhaohui, Cultural Metamorphosis: The Art of Xu Bing and Cai Guoqiang, unpublished MA in Curatorial Studies Thesis, Bard College, 1998; Zhang Qing, ‘History challenges reality: the life and art of Cai Guoqiang’, Yishu, vol.1, no.1, 2002; Zhang Zhaohui, ‘Tiandi zhi ji: Cai Guoqiang yu Xu Bing Suoshi biye zhanlan jihua shuomingshu’, Jiangsu Huakan, 2, 1999; ‘Naoshima no commishon waaku: Cai Guoqiang Bunkadaikonyoku, Naoshima no tame no projekuto’, Naoshima Tsûshin, vol.1, no.2, 1988; Hirano Akihiko & Takeuchi Hiroko eds., Cai Guoqiang “From the Pan-Pacific” [translated by Dutz, Margaret E.], Iwaki, Iwaki City Art Museum, 1994; Cai Guoqiang in “Ajia Shichô no Potensharu”, Hôkokusho, Tôkyô, Kokusai Kôryûkikin ASEAN Bunka Sentaa, 1994, p.84-89; Heartney, Elanor, ‘Cai Guoqiang: illuminating the new China’, Art in America, May 2002; Cultural Meeting Bath: Projects for the 20th century, New York, Queens Museum of Art, 1997 [review: Goodman, Art AsiaPacific,no.18, 1998.]; Huang Du. ‘Cai Guoqiang: From mystery and philosophy to reality.’ Art AsiaPacific issue 20 1998; Naylor, Stephen, ‘A Gondola In Suburbia’, Art Monthly Australia August 1999: 122; Bartelik, Marek, ‘Cai Guo-Qiang’, Artforum International, Vol.40, Issue 10, Summer 2002; Stringa, Nico (ed), Terrecotte Cinesi dalla 48 a Biennale di Venezia (Chinese Terracota at the 48 th Venice Biennial), Cornuda: Antiga Edizoni, 2003 Cai Jin, oil painter, Tianjin and New York: Yang En, ed. Cai Jin, Beijing, Renmin Meishu Chubanshe, 1995 Cui Xianji, abstract oil painter: Dao Zi, ‘Cui Xianji: zuowei jingshengwaihua de ziranchouxiang’, Yishujie, 11/12-1998. Chen Haiyan, Roberts, Claire, ‘Chen Haiyan: Dream work’, ART AsiaPacific, Issue 36 (2002) Chen Zhen, Sans, Jerome, ‘Paris: Chen Zhen’, Artforum International, Vol.34, Issue 5, January 1996; review, tribute by Hou Hanru, Art AsiaPacific, 33, 2002; Chen Zhen in Akiko Miyake, ed., Let’s Talk About Art #0002, ‘Transexperiences’, Kitakyushu: Center For Contemporary Art, 2002; Nakamura, Nobuo and Miyake, Akiko, ed., CCA Artist’s Book Series, Chen Zhen in conversation with Xian Zhu, Kitakyushu: Center For Contemporary Art, 1998; Heartney, Eleanor, ‘Chen Zhen's legacy’, Art in America, Vol. 91, Issue 2, February 2003; Uslip, Jeffrey Zur, Rachael, eds, Chen Zhen [a tribute], Long Island City, NY : P.S.1 Contemporary Art Center, 2003; Rosenberg, David; Xu Min; Daniel Buren, Chen Zhen : invocation of washing fire, Prato: Ori, 2003. Ding Yi, Shanghai, painter: Xiao Kayu, Shanghai, ShanghART, 1997. Dong Xiwen, deceased, oil painter: Chen Yingde, ‘Shiping Dong Xiwen youhua’, Mingbao Yuekan, 1, 1986, no.241. Fang Junbi: Fan Tchun-pi, A Retrospective Exhibition of the Works of Fan Tchun-pi, Hong Kong, Arts Centre,1978; Fan Tchun-pi, Bobot,M-T., Fan Tchun-pi, Paris, Musée Cernuschi, 1984 Fang Lijun: Furuichi, Y., Nakamoto, K. eds. Fang Lijun: Human images in an uncertain age, Tokyo: Japan Foundation Asia Center, 1996; Chou, Yuting, ‘The Floating Body in the Art of Fang Lijun: An Artist's Comment on the Human Condition in Post-Cultural Revolution China’, China Information, Vol. XII, No.’s 1&2, Semmer/Autumn, 1997Li Luming, Fang Lijun, Hunan: Hunan Fine Arts Publications, 2001 Fang Zhaolin, neo-traditionalist painter, Wong,Wucius,’Fang Zhaolin’, Orientations, November 1982 Feng Zikai: Hung Changtu, ‘The Wartime Political cartoons of Feng Zikai’, Modern China, 16:1, January 1990; Barmé, G., Feng Zikai: A Biographical and Critical Study, 1898-1975, Ph.D. thesis, Australian National University, 1989. Fu Baoshi 1904-1965, Clarke, David, ‘Raining, Drowning and Swimming : Fu Baoshi and Water’, Art History, 29:1, February, 2006. Gao Jianfu: Wong Shiu Hon, Kao Chien-fu’s Theory of Painting, Hong Kong, Centre of Asian Studies, University of Hong Kong, 1972; Wang Jiaohan, Gao Jianfu hualun shuping, Xianggang daxue, 1972. Geng Jianyi, Hangzhou, various media: Karen Smith, Baifen zhi wushi, Shanghai, ShanghART, 1999. Gu Wenda, calligraphy and installations, New York: Gu Wenda, ‘Yishu Biji’, Xinmeishu, no.20, 6.1985. Zhongguo Meishubao, no.129, 11.1.1988; Gu Wenda, ‘Women shidai de shenqu’,[tr.Jia Chunxian], Xinmeishu, no.4, 1996; Jaivin, Linda, ‘Gu Wenda’, Art & Asia Pacific, vol.1, no.2, 1994; Erickson, Britta, ‘Gu Wenda’s silent selves and pseudo characters’, Art AsiaPacific, 26, 2000; [Gu Wenda], Xu Gan, ‘Why Hair?’, in Yishu: Journal of Contemporary Chinese Art, Vol. 2 No. 4, December 2003, p.10-12.; Yang, Xianeng., ‘New and Old: Gu Wenda’s Art and Chinese Traditions’, in Yishu: Journal of Contemporary Chinese Art, Vol. 2 No. 4, December 2003, p.13-17.;Cateforis, David., ‘Gu Wenda’s United Nations: A Consideration of Two Monuments’, in Yishu: Journal of Contemporary Chinese Art, Vol. 2 No. 4, December 2003, p.18-24.; Bessire, Mark H. C., ‘Beyond the Body’, in Yishu: Journal of Contemporary Chinese Art, Vol. 2 No. 4, December 2003, p.25-26. ‘Gu Wenda: From Middle Kingdom to Biological Millennium, Symposium Discussion’, in Yishu: Journal of Contemporary Chinese Art, Vol. 2 No. 4, December 2003, p.27-32.
Page 1 and 2: MODERN AND CONTEMPORARY ASIAN ART:
Page 3 and 4: CONTENTS Please note that paginatio
Page 5 and 6: Kuki and his times 95 Nishida Kitar
Page 7 and 8: Prints 155 ------------------------
Page 9 and 10: GENERAL WORKS ON ASIAPACIFIC AS A R
Page 11 and 12: 11 [Global Conceptualism] Global Co
Page 13 and 14: 13 Hearn, Maxwell K.; Smith Judith
Page 15: 15 Tam, L.C.S.,et al, Hong Kong: Th
Page 19 and 20: 19 Li Wei: Jordan, Francesca and Ma
Page 21 and 22: 21 Wen Lipeng, deceased, oil painte
Page 23 and 24: 23 during the 1990s and the role of
Page 25 and 26: 25 Andrews, Julia, Painters and Pol
Page 27 and 28: 27 Wang Yuejin, ‘Anxiety of Portr
Page 29 and 30: 29 Clark, John, ‘Official reactio
Page 31 and 32: 31 Tsao Tsing-yuan, ‘The Birth of
Page 33 and 34: 33 [Hong Lei] Goodman, Jonathan,
Page 35 and 36: 35 [Song Dong] Thomas, Taliesin,
Page 37 and 38: 37 [Zhang Huan] Dziewior, Yilmaz, a
Page 39 and 40: 39 Jia Fangzhou, ‘The Eternal Que
Page 41 and 42: 41 Yuan Feng. and Yang Xiaoyan, ‘
Page 43 and 44: 43 2003; Li, Zhe, ‘Stepping Out I
Page 45 and 46: 45 Storer, Russell, ‘Shanghai Sta
Page 47 and 48: 47 Sun, S., Modern Chinese Woodcuts
Page 49 and 50: 49 Goldman, M., ‘The Party and th
Page 51 and 52: Red Gate Gallery, Beijing. http://w
Page 53 and 54: [Lau Tin-yum] Lau tin-yum, Hong Kon
Page 55 and 56: 55 [Pan Xing Lei] Chen, Shieh-Wen,
Page 57 and 58: 57 Clark, John, ‘La peinture mode
Page 59 and 60: 59 [Feng Zhongrui], Li Chu-tsing; L
Page 61 and 62: 61 [Taipei Biennale 2002], Wang, Ja
Page 63 and 64: 63 Agahari, Rae, Beyond representat
Page 65 and 66: 65 General Works Clark, J., ‘Mode
Page 67 and 68:
67 Watson, Oliver ; Kimura Rieko ed
Page 69 and 70:
69 Clark, John, ‘Artist and the S
Page 71 and 72:
Smith, L.H.R., Contemporary Japanes
Page 73 and 74:
73 Abstract painting in Japan, Hokk
Page 75 and 76:
75 [Araki, Nobuyoshi] Sawaragi Noi,
Page 77 and 78:
77 Annear, J., ‘A forest of art i
Page 79 and 80:
79 [Murakami, Takashi] Kondo, Kenic
Page 81 and 82:
81 Itoi, Kay, ‘The Elegance of Si
Page 83 and 84:
83 National Museum of Modern Art, [
Page 85 and 86:
85 Clark, John, ‘Japanese houses
Page 87 and 88:
87 Society of Architects & Building
Page 89 and 90:
89 Brisard, B., ‘Tange Kenzo: A h
Page 91 and 92:
91 Medical facilities : new concept
Page 93 and 94:
93 Wilson, Peter L. Western objects
Page 95 and 96:
95 Gluck, C., Japan’s Modern Myth
Page 97 and 98:
97 La Fleur, William A., ‘A turni
Page 99 and 100:
http://www.musabi.co.jp/list.html M
Page 101 and 102:
101 thesis, Australian National Uni
Page 103 and 104:
103 Roe Jae-ryung, Contemporary Kor
Page 105 and 106:
105 [Lee, Yong-Baek] review, Flash
Page 107 and 108:
107 Sabapathy, T.K., ed., Past, Pre
Page 109 and 110:
109 Chaiyan Rajchagool, The Rise an
Page 111 and 112:
111 No Na Pak Nam, Phra Acharn Nak,
Page 113 and 114:
113 Michaelsen, H., Die Entwicklung
Page 115 and 116:
115 8 Actual Visions in Thai Contem
Page 117 and 118:
117 Individual Artists Anurak Chata
Page 119 and 120:
119 to shock’ The Nation, January
Page 121 and 122:
121 Viboon Leesuwan: Viboon Leesuwa
Page 123 and 124:
123 2000+ [Boonyavanishkul, Rearngs
Page 125 and 126:
125 Kriengkraipetch, Suvann, Smith,
Page 127 and 128:
127 Suehiro Akira, Capital Accumula
Page 129 and 130:
129 Koch, Maurice, “Jos-Henri Pon
Page 131 and 132:
Nguyen Thi Dinh, No other road to t
Page 133 and 134:
133 [Nguyen Manh Hung], Edwards, Br
Page 135 and 136:
135 Holt, Claire, Art in Indonesia:
Page 137 and 138:
137 Supangkat, J., Sanento Yuliman
Page 139 and 140:
139 [Hendra Gunawan], Hendra Gunawa
Page 141 and 142:
Wardani, Farah, ed., Karbon: Ruang
Page 143 and 144:
BRUNEI 143 [bin Omar, Zakaria], Zak
Page 145 and 146:
145 Whitley, Keri, ‘Castle’s Jo
Page 147:
147 [ASEAN Art Awards 2002], Teo, J
Page 151 and 152:
151 Nyen, Ho Tzu, ‘Lee Wen: “St
Page 153 and 154:
153 [Feleo, Roberto] Guillermo, Ali
Page 155 and 156:
155 Foundation Asia Center, 2002; F
Page 157 and 158:
157 [Kuage, Mathias] review, Art As
Page 159 and 160:
159 Kapur, Geeta “Representationa
Page 161 and 162:
161 Jain, Kajri, Gods in the Bazaar
Page 163 and 164:
163 [Tagore] Parimoo, R., The Paint
Page 165 and 166:
165 exhibition catalogue exhibition
Page 167 and 168:
167 Kapur, Geeta, ‘When was moder
Page 169 and 170:
169 Deshpande, Satish, “Imagined
Page 171 and 172:
171 [Natesan, Shibu] Bordewekar, Sa
Page 173 and 174:
Martin, Courtney J. ‘South Asian
Page 175 and 176:
175 [Peries, Ivan] Bandaranayake, S
Page 177 and 178:
177 [Asia Pacific Artists Initiativ
Page 179 and 180:
179 Gallbally, A., ‘Aestheticism
Page 181 and 182:
181 Commemorative Anthology on the
Page 183 and 184:
183 [Gang Zhao] review, Art AsiaPac
Page 185 and 186:
185 [Wang Du] Kent, Rachel, ‚New
Page 187 and 188:
187 [Lubaina Himid; Boyce, Sonia; H
Page 189 and 190:
189 Theories, Logics & Ideologies B
Page 191 and 192:
191 Hopkins, A.G., ed., Globalizati
Page 193 and 194:
Zito, Angela and Barlow, Tani E., B
Page 195 and 196:
195 Smith, T., ‘Second person/fir
Page 197 and 198:
197 Crary, Jonathan, ‘Critical Co
Page 199 and 200:
199 Preziosi, Donald & Farago, Clai
Page 201 and 202:
201 Walker, David, Anxious Nation:
Page 203 and 204:
203 Kember, Pamela., ‘A Report on
Page 205 and 206:
205 Rugoff, Ralph, ‘Rules of the
Page 207 and 208:
207 Appadurai, Arjun, Modernity at
Page 209 and 210:
209 Turner, Caroline, ‘Cross-Cult
Page 211 and 212:
211 4 th Asian Art Show Fukoka, ed
Page 213 and 214:
213 Clark, John, ‘Three Recent Bi
Page 215 and 216:
Lyon Biennial 2001 Budge, Andrew,
Page 217 and 218:
217 Sydney: Biennale of Sydney: 200
Page 219 and 220:
219 The Exoperience of Art: La Bien
Page 221 and 222:
221 Tadayasu Sakai, Japan at the 10
Page 223 and 224:
223 A Primal Spirit, Hara Toshio; F
Page 225:
225 Art/34/Basel/18-23/6/03, Media
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